Your cart (0 item)

RUHLMANN, MATHIEU - Gravity controls our Myths

Format: CD Label & Cat.Number: Semperflorens sf03 Release Year: 2009 Note: great release by the Canadian "Mystique Concrete" composer on the new label of Sergey Suhovic, member of EXIT IN GREY & FIVE ELEMENTS MUSIC! Here more "musical" and dreamy, using instrumental sounds and his typical field magic field recordings... lim. 500 DVD sized cover Price (incl. 19% VAT): €13.00 Warning: Currently we do not have this album in stock! More Info " 'Gravity Controls Our Myths' presents a collection of short works that were created during a two year time frame. Mixed at the Wooden Spine Box 2009 Material used: bowed metal, pine cone, dried plants, mouse skulls, Sebastien feeding, crickets, piano, bells, bullets, boiling water, children's toy, vinyl, bowed zither, glass bottle, water tank, spring, fly, insects, shells, xylophone, hydrophone and field recordings." [M. Ruhlmann] www.semperflorens.net "Usually in the musical world of Mathieu Ruhlmann and people like him, a release means releasing one or more long tracks on a carrier of sounds. Usually not more than three. But much to my surprise this one has thirteen tracks, in some forty minutes, which one could think that this is Ruhlmann's popalbum. Of course its not. Its just an album of shorter pieces, maybe sketch like, but to use the term 'sketch' is not something I'd like to do for this music. You may all too easily think, the pieces on this album are not fully worked out, which is not the case. They are well rounded, shorter pieces of electronic and electro-acoustic music. Ruhlmann uses "bowed metal, pine cone, dried plants, mouse skulls, crickets, piano, bells, bullets, boiling water, children's toy, vinyl, bowed zither, glass bottle, water tank, spring, fly, insects, shells, xylophone, hydrophone and field recordings", which is indeed a long list of sounds and perhaps not always as such to be recognized here, but Ruhlmann finds a great balance between sounds we do recognize (water, piano) and those we don't - which I assume to be slightly processed versions of the other mentioned sounds. Its probably more difficult for people like Ruhlmann to do a shorter pieces than a longer one (odd as that may sound), but he does he a great job here. His music didn't change, it just became a bit more tighter here. Its good to see someone like him change the structure behind his music, trying out to get the same results but then within a shorter time frame. Ruhlmann succeeds wonderfully well at that. His highly atmospheric music still stands firm, with a great, intelligent use of environmental sounds and objects into a great varied bunch of tracks. Very nice." [FdW/Vital Weekly]